Showing 1 - 4 of 4
Moving images
Life, Kong Rithdee, Published on 25/05/2017
» Cinema is the runaway child of photography. At the Cannes Film Festival this week however, two films show the deep and inspiring connection between the two forms. In Villages Visages (Faces/Places), the grandmother of the French New Wave Agnes Varda teams up with photographer JR to create the most charming work in the festival. Meanwhile in 24 Frames, the late Abbas Kiarostami, the Iranian director who passed away last July, posthumously gave viewers the most mesmerising series of images on the big screen of Grande Theatre Lumiere.
Gosling's directorial debut misses mark
Life, Kong Rithdee, Published on 01/01/2016
» Last year when Ryan Gosling premiered his directorial debut Lost River at Cannes Film Festival, the chorus of boos, ridicule and cynical derision flooded the post-screening tweets and reviews. "Crapocalypse", some succinctly quipped, plus "insufferably conceited" and "folie de grandeur". Referring to Gosling's previous film as an actor, critic Jonathan Romney tweeted: "Let's see [if] God forgives this."
Wrestling the American nightmare
Life, Kong Rithdee, Published on 09/01/2015
» Bennett Miller's Foxcatcher is perched between an American nightmare and a family tragedy, which from a vantage angle are probably undistinguishable. It's also a story of a love triangle, an unlikely kind, involving two brothers and another man who asserts himself (most notably his nose) between them. Splashed across the screen before the whole thing starts is the solemn declaration "based on a true story" — an old Hollywood habit of codifying history into truth and fiction into biography — though in this case, it works to add weight and shock to the narrative that follows.
Nature versus nurture
Life, Kong Rithdee, Published on 06/12/2013
» Always gentle, always composed, the films of Hirokazu Kore-eda also register quiet devastation, often within the family. The stirring _ the earthquake, even _ usually happens beneath the surface of calm. Two years ago he gave us I Wish, a story about children of divorced parents, and before that, the sublime Still Walking, about a family wound that members prefer not to discuss. And, of course, Kore-eda's biggest hit in Bangkok was in 2003 with Nobody Knows, a painfully moving story of children left to fend for themselves after their mother walked out on them. That film packed Scala for more than a month.